It has once again come that time of year for reflecting back on some of the best albums released in the last 12 months or so, not to treat country music as competition per se, but as an exercise undertaken with the intent of expanding your musical knowledge in hopes the gaps that formed due to the busy lives we all live get filled in with joyous little music projects that will enhance your overall musical experience in the months and years ahead.

The way Saving Country Music performs this exercise is by first nominating the top albums in this website’s opinion for Album of the Year, and then turning it over to you, the sainted Saving Country Music readers, to leave your opinions. That’s right, your opinion voiced in the comment section below matters, though this is not an up and down vote. Ultimately the decision is Saving Country Music’s, but feedback is strongly encouraged to hopefully stringently vet the eventual victor.

This is not the end of Saving Country Music’s album accolades, just the beginning. All the nominees should be considered the cream of the crop. But following this list, and later in December as albums continue to be released and reviewed, as well as others brought up for discussion, including through the vehicle of this nomination process, an Essential Albums List will also be posted with a much more expanded participation.

At the top of the Essential Albums List will be efforts that were on the bubble of being considered Album of the Year nominees, but due to limited space, fell just short of the cut. There you will certainly find many of the albums some may see as glaring omissions here, including Sturgill Simpson’s A Sailor’s Guide to Earth, Brandy Clark’s A Big Day in a Small Town, Luke Bell’s self-titled effort, and others. Also be aware that very shortly, a similar nominations process will transpire for Saving Country Music’s Song of the Year, and may include folks like Justin Wells, Austin Lucas, and others who may also make it on the Essential Albums list, but did not appear here.

So don’t go whining about “you forgot.” This is not a Where’s Waldo exercise. This is an effort to expand your musical horizons. This list is not worthless just because one title is included, or one is excluded. It’s a exhibition; it’s sport. So come off your high horse and participate, including writing in your favorite record or records if they’re not included here, so others can share in your gift of musical knowledge.

It was a weird year for albums, and in some respects that’s reflected in the nominees. It was both a great and terrible year for releases, which has given rise to some dark horses. While the rest of country/Americana media regurgitates each other’s lists so they can stay popular, Saving Country Music attempts to look beyond borders, and include artists that may not have labels or publicists to find the truly best records. This list of nominees isn’t meant to represent the opinion of anyone but Saving Country Music, and this site was built under the spirit that everyone’s opinion matters. So don’t hate, participate.

Capiche?

Then let’s go.

Dori Freeman – Self-Titled

Sometimes the artists that are the best at tapping into those little currents of nerve tingling turns of phrases are not the ones that aspire to be the beneficiaries of mass media. And if it happens, it happens by accident. Dori Freeman was “discovered” by Teddy Thompson, who happens to be the son of British guitarist and songwriter Richard Thompson. Next thing you know she’s recording in the studio with a set of hand-selected musicians and Teddy at the helm. If Dori Freeman’s debut album doesn’t accomplish anything else, it should go down as one of the best produced efforts in recent memory.

For the love of God just let the songs speak out and choose their own path, and that’s what happens in this self-titled release. The sentiments are so naked and pure, and as potent to stirring the spirit as the smell of a baby’s head that it awakens more than just an appreciation for music, it awakens an appreciation for life. (read full review)

Cody Jinks – I’m Not The Devil

Though Cody Jinks has been around for a good while and is reaching well into his 30’s, it just might be his time at the moment, for however long that time might last. His new album I’m Not The Devil is an ambitious, unwavering, slow and plodding volley of songwriting body blows that makes no apologies, incorporates no compromises, and gives no quarter to those with open hearts that love to listen to music that makes them swoon with one emotional onslaught after another, all served in a down home deep-fried unapologetically country style.

Where previous efforts from Cody Jinks would maybe have a few songs that were ready for regional radio acceptance with sanguine attitudes and sensible production, or were more distinctly rock than country, I’m Not The Devil is Cody Jinks leaving it all out there and burying his hands deep into his country roots, worrying more about how honest he’s being with himself and the inspiration of the song than if anyone wants to hear it. And aside from one track, it’s all expressed in half-time or waltz-time sludgy power punches, stringing out an underlying tension and sense of dusk throughout this record, except for the moments he decides to let a little bit of light shine through.

True country music fans right now don’t just want good music, they want reassurance that good country music will continue to remain a part of music moving forward. Too often have they had their heart broken. Too often they’ve seen worthy talent pushed aside or put out to pasture, or put their hope in an artist who ultimately lets them down. Cody Jinks started in rock, and we can’t rule out entirely that he won’t veer back in that direction in the future, even if for a moment. But for now, Cody Jinks and I’m Not The Devil is exact shot of country-infused goodness that real country fans need. (read full review)

Mark Chesnutt – Tradition Lives

Calling Tradition Lives a traditional country record stops short of telling the full story. What really defines Mark Chesnutt’s first record in six years is one song of heartbreak after another. Tradition Lives is a full blown breakup album the likes we haven’t heard in country music and beyond in many years, merciless in how it delves into the themes and moments of living alone, losing the love of your life, and the heartbreak that follows. If country music today is much too saccharine with all of the fun-loving party anthems, Tradition Lives is a massive, 800 lb. counterweight tethered to the other side of the spectrum, trying to wrench country music back to equilibrium.

This is one of those records that can make grown ass men weep, so if you don’t want to expose your teddy bear side to the public, perhaps you should listen alone, and put a handkerchief on your knee. One of the symptoms of so many bad songs being cut by today’s country artists is that ample material is out there just waiting to be discovered and cut. One argument people levy against artists like Chesnutt is they tend to not write their own stuff. But picking the right songs and making them your own is an art to itself, and one that Chesnutt has excelled at throughout his career.

The biggest days of fame for artists like Mark Chesnutt are more behind than they are ahead, and that’s just the way of things. But that’s in no way a commentary on the quality of music Chesnutt can still create. He’s not slipped a bit in his understanding of why people listen to country music. There’s plenty of options for those looking for a bit of escapism on the morning commute, or to blast at the bonfire party. But we all hurt. None of us have been spared from the touch of heartbreak. And at certain times when you’re at your most lonely or broken, you need someone or something to remind you that you’re not alone in that heartbreak, but that millions have suffered through and persevered as well, and are doing so at this very moment. That’s what the music of Mark Chesnutt is for. (read full review)

Nick Dittmeier and the Sawdusters – Midwest Heart / Southern Blues

Songwriter and frontman Nick Dittmeier has seen the struggles from all sides. Living on the Indiana side of the Ohio River in the greater Louisville, KY area, he can pull inspiration from the evisceration of the coal economy, the dilapidation of the Southern small town, and the abandonment of the Midwest as the traditional American agrarian culture is replaced by the rise of urbanization and corporate farming.

The struggles of the people left in these areas who are clinging to life in the only homes they’ve ever known, this is the inspiration that goes into Midwest Heart / Southern Blues, marking a nexus for the heartbreak that criss crossses all of America’s forgotten corners. Similarly, the inspiration for the music is drawn from true country, Southern rock, Heartland sounds, and riverside blues. The struggling people of American may have been forgotten by many, but most all are represented on this album. (read full review)

Blackberry Smoke – Like An Arrow

Blackberry Smoke isn’t just saving country music, they’re rehabilitating the status of all American music by baptizing it in the muddy waters of the all-immersive guitar riff delivered unencumbered and fully amplified, flying in the face of all notions of present-day style or trend that acquiesce to eepish tones and textures, shedding no tears if it leaves some of their previous mainstream fans or frail lightweights grasping their ears and heading for the exits as fire comes roaring out PA speakers like a primal country rock yawp.

Some extend their fandom to Blackberry Smoke from a love of country music. To others the Georgia-based outfit evidences a formidable expression of Southern rock. Still others hear more of a classic rock style to their music. But as pointy-nosed music types quibble about what to call it and where to draw the delineation lines, Blackberry Smoke is trucking right on by, sensing they’ve just now hit their stride by letting the inspiration of the music designate their path, and after taking multi-year pauses between recorded projects to evaluate and asses, they’re now laying on the gas and not looking back. (read full review)

Courtney Marie Andrews – Honest Life

Life has a way of selling us on lies that seem so promising and resolute when we embrace them, but ultimately reveal themselves as the antithesis of discovering our true selves. Music in some cases stokes these fanciful ideas and pursuits, nudging us into parts unknown in search of something that in many cases is just not there, or at least not there for most of us.

It’s the “Ramblin’ Man” of classic rock and Outlaw country, and the free spirit of folk that inspires us to take like a bird to flight and follow wherever the Universe takes us. It’s these romantic Kerouac notions that set the young American adult in tumultuous motion. Sooner or later youthful indiscretion and wanderings usually give way to the wisdom of life, and usually, the understanding that love and family is the underlying nucleus of everyone’s human experience, and the essential ingredient to happiness.

Our favorite albums and songs many times go on to define the important eras in our lives because it’s what we’re listening to at that time. This album defines an era in life in a similar manner, but it a way that resonates whether you’re heading into, currently living through, or recalling the time in life when you truly become yourself, slough off the youthful pride and fanciful notions that freedom at all costs isn’t its own form of prison, and are ready to love the people who will always love you back, whether you’re coming or going. (read full review)

Jack Ingram – Midnight Motel

Jack Ingram wanted to let everyone know as soon as they turn this record on that he doesn’t give a damn anymore about “making” it in music, or making tons of money from it. That’s all in the past. Finito. If he does make money henceforth, it will be on his terms. And just in case you question his resolve about this after hearing some of the stuff he released on Big Machine, Jack’s gonna yammer a bunch in between songs to show you he’s serious that he doesn’t want anything more than regional radio touching this stuff.

Midnight Motel is not just an album, it is an experience. Many artists try this, but Jack Ingram, producer Jon Randall, and his Beat Up Ford Band pull it off. There are so many great songs, but there’s maybe even more better moments. There’s a song called “Blaine’s Ferris Wheel” about a concert promoter in San Angelo that starts off with Jack telling a long-winded story about Blaine and how he once booked Merle Haggard. To be frank, the story that Jack tells sort of meanders and is hard to keep up with. But when he sings the song right after you hear the story, it becomes this brilliantly unfurling masterpiece where every turn of the story is enrapturing and ripe with warmth and wisdom.

So many of these Texas country artists are saddled by past trespasses in the eyes of certain country purists who scoff when they simply see their names. But the loss is theirs. Jack Ingram has paid the dues, fought the battles, seen it all, and now can sing about it with authority. It’s easy for some to sit back and swear they’d never sell out when the truth is they never had the chance to because they’re either not talented enough or too lazy. Meanwhile Jack Ingram has seen both sides of the coin, is man enough to admit he went dancing with the devil, yet made it back in one piece and made a record that not only atones for any past transgressions, but is bred specifically from those lessons while being fearless in its approach and articulating things no ordinary 13-track record could ever convey. (read full review)

Kelsey Waldon – I’ve Got a Way

In 2016, most would never choose “classic country” as a job description; it’s only something that must be chosen for you by forces out of your control, with no option of wiggling out of your obligation. It’s just too debilitating of a life’s purpose, more than likely leaving you with heartache and disappointment as you try to eek out enough attention for your efforts to justify existence. Yet it can ultimately be incredibly rewarding in ways much richer than financial success.

Kelsey Waldon’s sophomore album I’ve Got A Way is a fiercely-classical, traditional country album through and through, cover to cover, with songs of heartbreak and healthy amounts of steel guitar slathered across the tracks generously, and her undeniable country roots grounded in the curiously-titled hometown of Monkey’s Eyebrow, Kentucky sticking up through the surface like the trip hazard veins of some great oak tree. And that’s most of what you’ll hear about Kelsey and this album. And though this is all true and a material asset to her effort in the minds to classic country’s often lampooned, but fiercely loyal fans, there’s something much more underlying going on in this record that many may miss.

I’ve Got A Way is not just classic country gold delivered in the modern realm, it is an allegorical voyage delivered in mutable, yet intertwined themes that delve deep into the material journey the soul must take when trying to navigate its path through life past all manner of travails, and pitfalls veiled as pots of gold. This album is about the test that life poses to see if one is strong enough to hold onto themselves. A classic country performer is going to know this journey all too well because nothing except the prodding from some diehard fans and an eternal drive inside is going to keep them soldiering forward. (read full review)

Lori McKenna- The Bird & The Rifle

The typical specimen of the ones we envision helping to save country music are usually young, angry, post-punk and thick-skinned honky tonkers with a penchant to swear in their music and wax aggressively about the ill’s of today’s country with a middle finger wagging at Music Row. But what if the effort to return country music to its past glory is just as much, if not more in the hands of 30-something and middle-aged songwriting women, who on the surface may not strike one as having the fortitude for a fight, but through their words and songs can find an important way to contribute to the cause of returning country to its high water mark, not through cussing and demagoguery, but through setting an example of the type of substantive efforts that make folks proud to count themselves among the ranks of country fans again?

Who would place the burden of trying to inch forward the entrenched and oligarchical ways of mainstream country’s stodgy iron works in the hands of a mother of five living in Massachusetts like Lori McKenna? Not many, including probably themselves. Yet in 2016, they are some of the most responsible for forward progress. These women are not trying to save country music. They’re just trying to put what they feel into words in a way most of the rest of us can’t. They possesses the virtue of insight and the talent to articulate it in a way that compels you to listen intently.

Lori McKenna’s The Bird & The Rifle is not going to become some major blockbuster because despite all the efforts, country women continue to be ignored. But to the listeners that matter, it will loom large, and possibly larger than any other release. It’s also an excellent bridge between independent Americana and the radio mainstream because McKenna can exist in both those worlds. And most importantly, it is exquisitely written, with one insightful turn of phrase after another. It’s a songwriter’s album in every sense, and a joyful experience. (read full review)

Doug Bruce – Unsung

Unsung is no vanity project meant as something to be passed out at the next family gathering; far from it. Think of this album more like a time capsule that has been unearthed with some of the best music written during the golden age of country that never saw the light of day, so it’s still fresh and new to your ears. And by going through his uncle’s entire song catalog to find the best selections, it’s like a Greatest Hits collection from some long lost legend at the same time. Put an absolutely stellar band and perfect arrangements behind all of this, and all of a sudden you have an astounding country music album that is both incredibly fresh, yet entirely classic.

You come for the music, which is lavished with steel guitar and twang and traditional country tones in a perfect representation of the material, but you stay for the songwriting. It’s unreal how songs like “The Tears” and “Greatest Expert” were never super hits back in their day, and quite frankly I’m not sure songs like these could be written by modern songwriters even if they tried. It takes the perspective of the 50’s and 60’s to pen such authentic country sentiments, yet I can’t stress enough the magic in this music since you’ve never heard it before. It’s like hearing Hank Williams again for the first time. (read full review)

The Cactus Blossoms – You’re Dreaming

Under the wide shadow being cast by Dave Cobb and his recent producership efforts, throwback rock and roll musician and songwriter JD McPherson has been putting together one fierce run of excellent albums himself. The Cactus Blossoms were flattered when McPherson called them and wanted to make an album, and the result was magic.

It feels like almost an insult, or at least a fruitless enterprise to entertain the idea that one could express in words what the harmonies of The Cactus Blossoms do for stirring the soul, so I won’t even try. But upon all the other accolades You’re Dreaming deserves, the tops might be the quality of singing evidenced, and not just in the close harmony style indicative of the Everlys and Louvins before them. Even in individual moments, both Jack Torrey and Page Burkum give such purity to the words and sounds, you have no choice but to go back 50 years to find comparisons.

A band like The Cactus Blossoms is still a niche enterprise for sure, and so the appeal won’t be felt by everyone. But the artistry is virtually unmatched, and the result is near perfection. (read full review)

Cody Jinks has my vote!!!! All of his music is fantastic and what we want to hear,if you are country music fans!!!!! Cody has came a long way since I first heard his music. Love and best wishes Cody!!!!

I just can’t get there with Blackberry Smoke (or Whiskey Myers). If I’m being honest, musically its good imitation and lyrically it’s elementary. But, we all have our own taste which leads me too …

Margo Price – You’ve been bullish on her and I can’t figure it out why, besides the album being wonky. That was my number one album for most of the year and most of the comments have her listed higher than you ever gave her consideration.

I discounted BJ Barham (like I did Luke Bell) for carrying over previously recorded songs and it still sits at #6 for me.

I have to revisit Andrews (I don’t even remember that SCM review), McKenna and Waldon before I put out my final top 25.

I am a supporter of Margo Price. But I want to see the best from her before we anoint her as country music’s next queen. I don’t criticize artists to feel better about myself or because I enjoy it. I feel that honest criticism is a healthy part of the creative marketplace. I want to see Margo Price blossom and put out a record that can withstand any criticism, or most criticism. And if we treat her with kid gloves and fawn over an effort that is good but not great, how will she ever get there?

Mark Chesnutt-Tradition Lives.
Don’t call it a comeback
Mark’s been here for years
Rockin his peers
Putting Luke Bryan in fear
Making Cole Swindell’s tears rain down like a monsoon
Listen to his voice go boom
Tradition overpowering
Over the honky tonk Mark’s towering
Chesnutt gonna knock you out.

Mark Chesnutt definitely brings it home with tradition lives. He still one of the best country singers around today. He has been here for a couple decades but man he can still bring it.He has my vote all the way…..

Big year for women artists in my music world. Six of my top ten. I think two or three has been more the norm in recent years.

With regard to Margo Price, I was sort of on the same page with Trigger at the beginning, but that album just continued to grow on me. I think part of my initial reluctance was that the lead single (Hurtin’ on the Bottle) was a song that I just “liked.” Turns out it’s my least favorite song on the album.

Blackberry Smoke rises above all these others for originality and musicianship! This is real, straight-shootin’, no-holds-barred, in your face country/rock that gives you the lyrics of your life!
Hands down the best live shows I’ve ever been to!!!

Cody Jinks. His music saved me from a dark place while divorcing the man who was my best friend for 18 years. I’ve seen him 4 times this year and his voice is even more pure in person than on record- not the case for many.

Doug Bruce is doing good stuff consistently . His audience start tapping and bopping and enjoying their life moment when Doug and the group go live. In terms of this album ,Unsung should be played often to enjoy his talent and song selections.

My vote is for Cody Jinks, all the way! I listen to his music every single day. I had the honor of attending his Boston show and meeting him afterwards and you won’t find a nicer, more humble and down to Earth gentleman. It was a great show and his songs speak to me like none I’ve ever heard. This an endorsement, a vote and a hell yeah for Cody Jinks! If you don’t have “I’m not the Devil,” you’re seriously missing out. Grab it and see why I’m raving about it!

Those are three albums that stood out to me this year. We already know about Margo Price, Sturgill Simpson, and Brandy Clark, but I must mention the ones that stood out that are more of Americana/Folk than they are country. T Sisters are so popular here in Nor Cal, and although Jon Pardi’s our boy in country, our girls T Sisters seem to be breaking local media attention through folk.

Personally, I’d give the nod to Jack Ingram. I overlooked the album initially, but then gave it a listen based on Trigger’s review…and then another, and then another, and then another. It really is a gem.
Here’s hoping Karen Jonas get a nomination for song of the year for Wasting Time.

1.) Dori Freeman – An excellent choice in my opinion, and one that I’m predicting will easily win this award. You (Trigger) seemed absolutely elated about this album when you reviewed it. Not that you didn’t seem overjoyed with the other nominees, but this has really seemed like the clear cut winner since February.

Now, I wasn’t quite as ecstatic about this as you were, but I would have absolutely no problems with this winning. In terms of raw, emotional power within music, Dori Freeman is a top contender for this award. I wish the thematic content was a little more diverse, but considering this is a debut album, there’s a lot to be said for Dori Freeman as an artist, and who knows what’s in store for her down the road.

So once again, this is a choice I can definitely respect. (1 3/4 Guns Up on my scale I guess)

2.) Cody Jinks – “I’m Not The Devil”

Another choice I can respect. Again, didn’t love this as much as many did, but it really speaks to some deeper level when a traditional country artist is able to rile up this much fanfare in the comments. You’d think traditional country music was dead in the mainstream, yet looking at the independent world it’s certainly not. That’s why it’s not enough to be traditional to be good these days. I think what sets Jinks apart is his willingness to tap into the darker themes within country music. Not in the cliched sense mind you, but in a way that’s loaded with a ton of intricate details and really feels artistic. I don’t think EVERY song on his newest album did that (the title track is a little too broad), but there are certain songs like “Grey”, and “Heavy Load” which are just exquisite. I still think that the best is yet to come for Jinks, but this is another pick I can get behind.

1 and 3/4 Guns Up on my scale I guess.

3. Mark Chesnutt – “Tradition Lives”

You’re right about the dark horse thing Trigger. I mean, what do we really expect from older artists? They’ve already spent their entire careers crafting albums and songs that will go down as classics in country music. At Mark’s stage, we’re just hoping for something great. Instead, what we get with this is an excellent album that, while certainly not prone to its share of filler material is also loaded with some truly excellent songs like “So You Can’t Hurt Me Anymore” and “Never Been To Texas”. Yes, the latter is yet ANOTHER protest song, but it’s framed in a way that doesn’t feel cliched. It’s not angry, but instead offers a solution for those yearning for a traditional sound. It’s a little long at 13 songs, and again, some tracks didn’t need to be here, but again, this is another pick I can get behind.

1 and 3/4 Guns Up on my scale I guess (I know I’ve said this a lot but hang on…)

It’s a damn shame that this album is going to get overlooked, because it’s another excellent addition. I don’t know if I can quite go with “album of the year worthy” for this, but this is probably the most enjoyable listen out of the eleven candidates present. There’s a certain feeling to this album that resonates with blue collar America, and it’s overall “grimy” feel lends itself to some great country and southern-rock. I wish they had pushed that edge a little more overall such as they did on “Atheist Wedding” and “The Poet, The Priest and Me”, and I will say that some tracks sort of bleed into each other, but this is an extremely cohesive, enjoyable listen that manages to be enjoyable despite delving into some pretty dark thematic content. I’m truly excited to see what these guys can bring down the road.

1 and 3/4 Guns Up on my scale (Yes, I swear I’ll change it up soon)

5.) Blackberry Smoke – “Like An Arrow”

I’ll admit, for as much as I do enjoy this album, this pick surprises me. I mean, I personally think their last album Holding All The Roses deserved a nomination last year (they even got Two Guns Up from you), and yet they didn’t. Granted, I don’t put a ton of stock into the overall grade, but it seems like we’re both in agreement that their last album was a tad better. I mean, the field is already crowded as it is with 11 albums, and I think if any of them should have gotten cut, this is one (as well as another I’ll talk about later).

As for my personal thoughts on the album, I do think it is very good, but it’s missing the mark of “great” for me. I can appreciate the diverse sonic palette they incorporated on this album, but I also think the lyrics and themes don’t hold up as well as they did on their last album. Granted, lyrics aren’t as important in southern-rock as they are with country, I get it, but it also feels like this album could have benefited from some tighter writing in spots like “Running Through Time”, or “What Comes Naturally”. There’s other thoughts I have, but I’ve droned on long enough.

For me, 1 and 1/2 Guns Up

6.) Courtney Marie Andrews – “Honest Life”

This. This right here is my pick for the album of the year (among the nominees) and it’s not close. You see, while Courtney is new to me, Trigger, and many readers here, “Honest Life” isn’t her debut album. It’s actually her 3rd album (that I know of, correct me if I’m wrong). With the themes of wanting to start over and finally forge her own path in music, it certainly aims for a grand scope within the thematic arc of this album, and considering the songwriting is simply incredible on this album, I would call this her magnum opus (yes, I’ve listened to 2013’s “On My Page” and 2011’s “No One’s Slate Is Clean”). That’s not even to mention that from a vocal standpoint, not only is Courtney a fantastic singer in terms of power, she’s also simply a phenomenal emotive interpreter. You can tell these songs are coming from someplace raw, honest, and real. I know it might be more Americana than Country, but for God’s sake, it’s DEFINITELY got enough of a country foundation to qualify for this. Hell, it’s more country than some nominees here. Of course, I wish not to reward something based on how “country” it is, but rather the quality present. In my opinion, in terms of quality, “Honest Life” is the album of the year.

Two Guns Up on my scale.

7.) Jack Ingram – “Midnight Motel’

Ah, yes, this album. You see, I want to like this album a lot more than I do, and I’ve been frustrated that I don’t connect to this as much as I should. You see, while the dialogue has turned a lot of people off from this album, it’s easily my favorite part about this album. But it seems to almost completely disappear after “Blaine’s Ferris Wheel”, and after that song the songs present just are sort of merely “there” for me, suffering from being underwritten and lacking in tempo (minus the very fun, “I’m Drinking Through It”). That being said, I’m not going to deny that the album starts with a bang of excellent songs. “It’s Always Gonna Rain” and “Ferris Wheel” are easily two of my favorite songs of the year, and as a whole, this album is at least good.

Just like Chesnutt, I never expected to see Ingram here, and I have no problems with this being the album of the year. I may not personally connect to it as much, but maybe it’s just something I’m not getting. Either way, it gets 1 and 1/2 Guns Up from me.

8.) Kelsey Waldon – “I’ve Got A Way”

Another pick I’m confused by if I’m being honest. Much like Blackberry Smoke, I feel like we’re both in agreement that her last album was better, and yet that didn’t even get a nomination in 2014. Again, this is good. I wish the sound had more diversity besides just having a ton of pedal steel, and the themes are lacking a *little* bit of diversity. I don’t know, it seems like if another album could have been cut it’s right here.

1 and 1/2 Guns Up for me

9.) Lori McKenna – “The Bird and the Rifle”

This is another album that I don’t connect to as much as I want. I mean, I think it’s great, no, excellent from a songwriting point of view. However, the production admittedly is a little too light for my tastes, and as a whole listen I’d be lying if I said that my attention didn’t scatter elsewhere at times. I can appreciate that it’s great though so… 1 and 3/4 Guns Up I guess.

10.) Doug Bruce – “Unsung”

Of course nobody has said anything about this album….

Which is a shame since it’s damn good. Admittedly I’m not a fan of Doug’s vocals, but I think he did a really great job with these songs and that his uncle would definitely be damn proud of the result. Like Dittmeier, this is another pick for “most enjoyable album”. Two Guns Up for me and definitely a pick I could get behind.

11.) The Cactus Blossoms – “You’re Dreaming”

Honestly, these guys just really aren’t for me. I think there could have been a definitely change in tempo on this album, but it’s alright I guess.

Something I would mention here is overall I thought it was a fairly down year for albums. So even if you look at the ratings from older albums from Blackberry Smoke or Kelsey Waldon and are wondering why these are included here, it’s because there weren’t the group of huge blockbusters pushing them off the end of the list this year, at least in my opinion. Also, when you start nominating albums, you have to ask yourself, “Well if I nominate this one, this other one is just as good, and so it should be included too.” That’s how I got to the unusual number of 11 nominees. Ideally, there would only be five or six at most, but the last two years, that number has expanded for multiple reasons. A few year ago, I only had three nominees, and then split the distinction between two of them.

Oh, no problem. Admittedly I wish I could say even more than I already did. I know that some of my explanations could have been expanded (and honestly, I took the cliche route in some of my descriptions), but I think my main points are clear.

Yeah, I can understand it being a down year for albums. Although on the positive side, it forced me to dig deeper to find albums that would quench the “thirst” I guess. A lot of my favorites of course came from you. Heck, my favorite album this year is Al Scorch’s “Circle Round The Signs”, an album that I discovered through here!

I think we had a lot of great albums, and in terms of quantity it’s definitely been a great year. I think we’re missing that one album that really shot the moon so to say. Not that there isn’t a candidate that’s worthy of being called “album of the year”, but there doesn’t seem to be an album that is without its flaws this year.

I don’t think that there is another artist out there that is expanding his audience like Cody Jinks and the TDH. I’m not the Devil has had a huge impact bringing in new fans. I run a fan page called Blacksheep that I started just over a year ago to help support the music of Cody and spread the word. It took about 5 months to recruit the first 1,000 to the group and another 5 months for the second thousand. Since the release of I’m not the devil we are averaging just under a thousand a month of new members and this month we will surpass that average. The numbers on Cody’s music page reflect the same. I know it’s about the music and not the numbers but this guy is exploding and there is a reason for that. The man just Kicks Ass and “I’m not the Devil” is without a doubt the Best Damn Album of the year….

Bill Higgins love it! Was reading all the comments on here and of course yours stood out ha ha wonder why! The other artists, many I listen to, Nine Bullets Drive By Truckers played 1000s of times in past ten yrs. Jack Ingram Beat up ford. Whiskey Myers Last train running. Music i love and live for, but damn Cody Jinks takes the top in my book! I’ve been partial to Jamey Johnson for the past ten years and following his music passing it on to my children is how Cody became my #1. We are blessed to have so many artists that are keeping the legend of country music alive today in this mixed up world and Cody Jinks is like a breath of fresh air. Looking forward to seeing his career take off to where Im sure its going to! Thank you fellow music lover for letting me be along for the ride!

Great list…. Enjoyed the BBS, Nick Dittmeier, and Mark Chesnutt albums.. But Cody Jinks album is the best album I have heard top to bottom since Jamey Johnson’s That Lonesome Song. When I heard the Dittmeier album I said it had to be album of the year, but then Jinks released I’m Not the Deveil and it was just off the charts good.

Personally, I think Lori McKenna’s album has gotten the most repeat play from me of this year’s new albums, with “Southern Family” and Whiskey Myers “Mud” up next.

Cody Jinks’ album is very good, and every time I listen to it, I enjoy it. But for whatever reason, it just doesn’t “connect” with me. I don’t get the songs stuck in my head like I do with the other three albums I listed.

Overall, I would say this is a down year for me as far as new music goes. It got better toward the end of the year, but I still find myself listening to “Mr Misunderstood,” “Traveller,” “Something More than Free,” and Sturgill’s first two albums more than anything from this year.

Lots I haven’t listened to yet, so my list is definitely incomplete. But first, I want to say a few things:
– I still listen to more Whitey Morgan than anything else. He’s an absolute country outlaw beast!
– Sturgill’s album is not country. It just isn’t. I love it, though.
– Blackberry Smoke lives in that nebulous musical gray area where only awesome exists, so it’s a little easier for me to include them on a country list.
My “Best of the Best Country 2016” list:
1A. Margo Price – Kelsey Waldon had this spot until I finally discovered Margo this fall. Guess I just don’t have a refined ear to catch whatever’s wrong with this album. Songwriting is fantastic and honest.
1B. Cody Jinks – THAT close for me. Awesome songwriting. Great sound.
3. Kelsey Waldon – Some people just don’t seem to like her voice, but she’s music to my ears. Again, great and honest songwriting.
4. Blackberry Smoke – They kick more musical ass than anyone out there. But are they country?

My favorite is Cody Jinks, though that’s an easy one for me because it delivers almost exactly what I’m looking for in country music. That said, I also think the McKenna album is worth plenty of repeat spins.

I am disappointed that Justin Wells didn’t make the cut, but I can see the rationale. A damn good album, though an imperfect one. Hope to see something from him (“The Dogs”, maybe?) on the Best Songs list.

Blackberry Smoke is THE most underplayed and under rated Southern Rock band since Skynyrd. Fantastic shows, dedicated fans and music thatd make your Papa tap his toes. Enough cannot be said for there talent and dedication.

When it comes to real country music I’d say Cody is really good. I still prefer “I cast no stones” over “I’m not the Devil” – but the one you’re really missing is Frank Foster. Franks song writing ability is as good as you’ll find anywhere today. Go Check out his album “Good Country Music”.

In regards to all around great sounding music with excellent musicianship… No one, I mean NO ONE is better than Blackberry Smoke. Go back and listen to their album Little Piece of Dixie then fast forward to Like an Arrow. There’s not a band in music today that compares. BBS ?

My first post here, but I’m going on a year reading SCM on a daily basis. Based on your recommendation, I just bought Mark Chestnutt’s ‘album’. The 30 second samples blew me away. And Amazon has it for $5.00!! No brainer.

For AOTY, I have to go with Parker Millsap and The Very Last Day. He’s even more impressive live. And Brandy Clark had some nice moments on Big Day, but there were also some too cute titles and lyrics that tried to hard to be clever.

Keep on recommending artists Trigger, it’s making my work commute more bearable.

Cody Jinks. This album was everything I had hoped it would be after the Adobe Sessions. Second place for me is Blackberry Smoke. I have really been enjoying that one lately. Third is Mark Chestnutt, this was a much needed album for me and is like putting on an old comfortable pair of jeans, which that being said my fourth is the new Tracy Byrd album. This one has truly grown on me after repeated listens and certainly takes me back to that great sound, no not watermelon crawl, I used to love. Although he always threw a few radio friendly songs on his records, the rest of the albums were filled with great country/western style music that always made me want to jump in my car and just drive away somewhere.

Shelby Lee Lowe and Charlie McNeal are my recommendations for inclusion. At It Again by Shelby is a great country song. And Charlie’s voice does not sound like a 16 year old he can belt some great music out like he does in Remember The Time. Give them a listen I am sure you’ll love them.

Thanks for another year of enlightenment. It had been an interesting year that had a slow start for country music but finished strong. But, the tides are definitely turning and the future is brighter than ever!

My vote is Cody Jinks, hands down.

However, I am not sure I am following the logic to leave Sturgill off the list. I am not questioning your process as you and I typically always see eye to eye. I just hope folks are not moving alway from Sturgill as the masses are now discovering him. We need to support his growth and appeal and now act as country hipsters right now.

I thought “Adobe Sessions” was a great record, but as I said in my review, I had a sense that Cody was still holding out a little bit on us, and still had upside potential. In my opinion, we saw that upside potential realized in “I’m Not the Devil.” I also thought Yelawolf realized his full upside on “Love Story.” I’m not running a popularity contest. I fully knew including Yelawolf would result in comments like these. But I would rather speak what I truly believe in my heart about music, than be labeled a phony for pom pom waving for my friends or who I think it will be most popular to tout.

Blackberry Smoke all the way!! This is not only the best of 2016, but they wrote it, recorded it, produced it, and push it on their own!! What other act do you know does that?!! It’s criminal BBS doesn’t get any mainstream media push! THEY ARE THE REAL DEAL FOLKS!! 100% killer, NO filler, no corporate manufactured music, no garbage or country rap!! Why hasn’t anyone with $$ pushed this band?!! Give a listen. You’ll end up buying it and their back catalog!!

Been reading the sight after a good friend told me about it a few months ago. Love your promotion of true country music. That being said, love your AOTY choices. Particularly a fan of Cody Jinks. ‘Adobe Sessions’ was his 1/2 rack of ribs, while ‘I’m Not The Devil’ was the 32oz porterhouse in that Roadhouse combo dinner. Both are great, but ‘I’m not the devil’ is just a little bigger and better. “No Words” and “Grey” are two songs I have yet to get tired of.

Agree with many of the others, Sturgill is amazing as always, just not country on ASGTE. Honestly, a little disappointed by that, but amazing album none the less.

Have really enjoyed the Southern Family album as well. Great ensemble album.

The ladies did not disappoint this year with some of the best albums released in a while. Brandy Clark and Dori Freeman are both doing some amazing and underrated work. They are like the cheesecake and cherry topping on that dinner I was talking about earlier. Good stuff you can’t pass up once you experience it.

Keep carrying the torch. Y’all are doing a great job and I have throughly enjoyed Saving Country Music.

Thank you for giving recognition to #MidnightMotel; well worth the wait. Same for the wonderful job by Mark Chestnutt. I would have put Brandy Clark on my list. But over all well done w the selections.

So I may be partial but my votes all go to Blackberry Smoke, they never stop amazing us album after album. Like An Arrow may be the most diverse of the entire library, its like a roller coaster ride start to finish. As someone else stated they wrote it, produced it, marketed it, all without mainstream radio ever touching it. To start at #1 on the charts due to the fans alone should say alot. Thank you to all Blackberry Smoke Brothers and Sisters!

Thank God you’re not pandering to Miranda Lambert with your list (like everyone else).. TWOTW is banal and shows the enormous effort of striving to be what Lambert thinks will get her Grammys. It’s working obviously, but she tries WAY too hard to act like she’s not trying for my taste. I want genuine artists not ones plotting every move in terms of image. Miranda is quickly becoming an artist that represents everything wrong with country music right now. Her “I’m so real” act is more fake than the “bro” boys.

Why so hard on Miranda? At least she contributes to writing her own music, sometimes, quite a bit of it.
Kudos to her for not doing banal interviews with talk show hosts. She performs and leaves the stage, how is that “I’m so real.”? Maybe that is Her reality. “Here’s my music, take it or leave it.” What else should she do, now that her ex doesn’t know when to shut up? Being portrayed as tabloid trash for over a year, takes a toll on people, Especially, if they are Real..

Thank you for this list. I don’t listen to this music as religiously as other genres but look forward to the album of the year nominees and all the comments. They keep keep me stocked with good country music for a year and have led to the discovery of some of my favorite records.